Announcing a new Video series by Adam C. Douglas: Superimposition
Superimposition: is the placement of an image or video on top of an already-existing image or video, usually to add to the overall image effect, but also sometimes to conceal something (such as when a different face is superimposed over the original face).
The idea of the Superimposition Series came from Andy Warhol and his many series of works including his silk-screen works and his screen tests. The silk-screen works are themselves replete with important artistic choices: often multiple images are partly superimposed on each other; in many, a multicolored paint pattern is applied.
In the mid-1960s, at the height of his creative powers, Andy Warhol produced hundreds of three-minute cinematic portraits, called “Screen Tests.” The films were made between 1964 and 1966 at Warhol’s Factory studio in New York City. Subjects were captured in stark relief by a strong key light, and filmed by Warhol with his stationary 16mm Bolex camera on silent, black and white, 100-foot rolls of film at 24 frames per second. The resulting two-and-a-half-minute film reels were then screened in ‘slow motion’ at 16 frames per second.
Warhol’s film-making was motivated in large part by his fascination with individuals, but he was also driven by his desire to capture the actual experience of living. As he wrote in his book, POPism “What I liked was chunks of time all together, every real moment…I only wanted to find great people and let them be.”
It has often been written that Warhol simply turned on the camera and walked away. However, as can be seen in a 1964 film, made by the British Broadcasting Company, he set up the camera, framed the shot, and engaged the sitter before filming. Whatever the interaction or presumed lack of interaction between Warhol and his subject, he used the filming process to communicate with and learn about people. Even when he wasn’t in the room, the camera remained as a surrogate for his presence.
Many of Warhol’s screen tests fit the standard formula—the subject and the camera almost motionless for the duration of the film, with the result as close to a “living portrait” as possible.
Original Music Composition: Sam Harrell (2013)